1 —— —<——saaa = =a ES ‘i Wik oe ire F U aa ZU AOA MAVER SR IU IDE:WRITTEN BY CORANTH GRYPHON, JESS HEINIG AND CYNTHIA SUMMERSCREDITS Written by: Coranth Gryphon, Jess Heinig and Cynthia Summers Development by: Cynthia Summers and Jess Heinig Editing by: Lindsay Woodcock Previously published material has appeared in: Laws of the Night, Laws of the Wild, Laws of the Hunt, Oblivion, Halls of the Arcanum, The Inquisition, World of Darkness: Sorcerer, The Shining Host, The Autumn People, World of Darkness: Mummy Art direction by: Richard Thomas Layout and typsetting by: Aaron Voss Art by: Laura Robles Playtesters: Nathan Brown, Michael Dent, Earle “Glas” Durboraw, Kenndra Durboraw, Randy Edmonds, Bernadette Groves, Tim Harris, Chris- topher Hooker, James Lai, Anthony Macedo, Jennifer “Joie” Martin, Jeremiah McCoy, Kevin Scheidt, Billy Trozzo, Chris White SPECIAL THANKS T0: Richard “Big Bird” Dansky, for many productive late-night discussions, frequently involving food. Jess “Streltsy” Heinig, for offering to teach the Brujah Thaumaturgy. Ian “Siouxie” Dunteman, for finally correcting me on “Eat That Bug.” ©1999 White Wolf Publishing, Inc. Al rights reserved. Repro: duction without the writen permission of the publisher is expressly forbidden, except for the purposes of reviews, and for blank character sheets, which may be reproduced for personal use only. White Wolf rethe Dark Ages, Mage the Ascension GNC STIDIO and World of Darkness are registered trcdemarks of White Welf Publish ing, Inc. All rights reserved. Werewolf the Apocalypse, Wraith the Oblivion, Changeling the Dreaming, Werewolfthe Wild West, Trinity, Laws ofthe Hunt Players Guide, Lawsofthe Night, Laws ofthe Wild, Laws ofthe Hunt, Oblivion, The Shining Host, Halls of the Arcanum, The Inquisition, Worldof Darkness Sorcerer, The Aunumn People and World of Darkness Mummy are trademarksof White Wolf Publishing Ine. Allrights reserved. All characters, names, places and text herein are copyrighted by White Wolf Publishing, Inc The me trademark or ca This book us elements are fiction and intended for entertainment purposes only. Reader discretion is advised. Check out White Wolfonline Vampire the Masquerade, Van .e to-any company or product in these pages is nor a challengy 1 concemed supernatural forsettings, charactersand themes. All mystical and supernatural herpy/www.white-wolfcom: alt.games.whitewolf and rec-games fp storyteller PRINTED IN THE USA. | vvvrvrvrvyvrvvrvvvyvyvvyyey?TABLE OF CONTENTS INTRODUCTION CHAPTER ONE: MAGICAL SOCIETY CHAPTER TWO: CHARACTER CREATION CHAPTER THREE: HEDGEPATHS AND THEURGY CHAPTER FOUR: RULES, STSTEMS AND DRAMA CHAPTER FIVE: THE DAUNTAIN CHAPTER SIX: MUMMIES ~ THEREBORN APTENDIX: AQ 52 2 186 224 236 ve YY VN YY VV YY YY OF OW OY ay 3Introduction But when the darkness sets in, their true beauty Is revealed only if there is a light from within — Elizabeth Kiibler-Ross Think back to when you were a child. Games were full of make-believe. Cowboys and Indians, hide and seek, even playing with trucks and dolls all involved dreaming up worlds of adventure each day. As you got older, complex rules often replaced free-floating imagination as the basis for your amusement With Mind’s Eye Theatre, you can have both, Instead of sitting around a table describing what your character is doing, you become your character, acting out the scenes in which you are involved. If you have never done any sort of roleplaying, youcan think of itasa long-running improvised play, with the world as your stag ORIGINS Laws of the Hunt Players Guide is part of the Mind’s Eye Theatre series. It contains all the information necessary to create and run mortal characters but occasionally refers back to other MET supplements. To make best use of this supplement, you should have Laws of the Hunt and one other vvvvvvvvvvvv+vwyevpegwsvp;epéséiéeqyara MET book, such as Laws of the Night, Laws of the Wild, Oblivion or The Shining Host. Laws of the Hunt Players Guide is derived from the tabletop books in World of Darkness: Sorcerer, The Inquisition, Halls of the Arcanum and a few other sources. You do not need to own or be familiar with any of these books to use this supplement; however, the background material contained in these books can be a useful source of additional information. HOW TO USETHIS BOOK This book was intended asa companion to Laws of the Hunt, and when we started out, we decided to only put in the new material and direct folks to the other books for things like Attributes, Abilities and Influences. However, we found that many folks liked having certain material at hand, to avoid carrying extra books and to make sure that everything needed was in one place, especially during character creation. So, in deference to your wishes, here's just about everything you'll need to create your character and the rules you'll need for playing in the games. Chapter by chapter, here’s how it breaks down: Chapter One: Magical Society — These describe the various societies that many sorcerers have found comfort and refuge in. From preferred paths, to outlooks, to magical style, the sorcerous array themselves. Chapter Two: Character Creation — Here is all the necessary infomation to create any sorcerous character, from Attributes to Back- grounds to Merits and Flaws. This material can also be used for creating Dauntain and mummies. Chapter Three: Hedge Paths and Theurgy — The nitty-gritty of being asorcerer, here are the hedge paths (several of them having their first outings ever) for the sorcerously inclined, and Theurgy for those with other purposes. Chapter Four: Rules, Systems and Drama —In addition to the rulesabout bidding and challenges, there is information about the Umbra as it relates to sorcerers, spirits and suggestions for making the magic a little more magical. Chapter Five: The Dauntain — These folks should have been in Laws of the Hunt, but owing to a couple of mishaps and space problems, they got bumpedand landed here. You can create Dauntain characters either using the material provided here or in Laws of the Hunt if you see something you want there. All the necessary material for playing a Dauntain is included here. Chapter Six: Mummies — The Reborn — Here is a complete work-up for creating and playing mummies, revised according to World of Darkness: Mummy, Second Edition. You can create mummy characters using the steps provided in the back, with the material given in the front of this book. Appendix: FAQ — All the little (and not so little) questions come to roost here.THE WORLD OF DARKNESS The World of Darkness is the backdrop for our game. It is a dim and tamished reflection of the normal world in which we live. The landmarks are the same; the cities are where the map says they should be. Yet a dark undercurrent runs through this world. Monsters howl on their nightly hunts, sinister forces prey upon the unsuspecting, and magic still lives. Itis an eerie world, and your character must adapt in order to survive. Danger lurks in every shadow, and there are a lot of shadows here. Welcome to the World of Darkness — pray that you make it through the night. LIGHT ATTHEEND OF THE TUNNEL Even though much of the game focuses on isolation and conflict, there must always be a sense of hope to keep things in balance. Everyone needs something to believe in, a goal to strive for, a way to make a difference. Even in the World of Darkness, you can take time to smell the roses, have a picnic or celebrate a friend’s birthday. Characters are not just combatants in an endless struggle: They are also people seeking to understand the world around them. Enjoy both the dramatic moments and the quiet times, for they all provide a means of self-discovery that is an important part of roleplaying. STORYTELLING WITH MORTALS The World of Darkness is not simply a playing field for supernatural creatures such as vampires, werewolves and mages. It is comprised of people on whom the vampires must feed, activists who are attempting to preserve or destroy the face of Gaia and the unknowing masses who move in the sunlight of the world. Among those faceless automatons are a rare few people who have discovered within themselves some spark of power or awareness. Some use these abilities for the good of all; others hoard the benefits for themselves These small lights shining in the mundane sea make up the focus of this book. Many people ask why someone would want to play a mortal character when Mind’s Eye Theatre offers such a wide range of supernatural roles. It can be a good way to learn the basics of the system, allowing new players a chance to get their feet wet without trying to swallow an entire cosmology at the same time. More experienced players might enjoy the challenge of trying to match mortal powers against the supernatural, acting either as allies or enemies, There are two ways a Storyteller can use mortal characters. First, human servants or hunters may be included in a standard Vampire, Werewolf, Wraith or Changeling game. Alternately, the Storyteller may decide to run an all-mortals chronicle, focusing on the interaction between the worlds ofPree eure ths) res ent the mundane and the supernatural. This can be especially exciting if there are two chronicles running side by side, one mortal and the other supernatural, with each reacting to the other's advances. MIXED CHRONICLES Sorcerers are human. This may seem to go without saying, but the wide range of nonhuman roles available in Mind’s Eye Theatre makes that small fact a unique asset. Many supernaturals arrogantly assume that mortals are just not a threat and dismiss them out of hand. Very often, dearly bought experience teaches them otherwise — those supernaturals who lived through the Inquisition are not likely to disregard mortals again. There are several roleplaying challenges available to players whose characters are much closer to “home.” It is easy to let your imagination go completely when playing a vampire or werewolf. Taking on the role of a mortal, especially one who is unaware of the shadow world around her, ismore of a challenge. In addition, it provides a greater opportunity to explore your own humanity. This is especially true when the mortal is set against a background of supernatural characters. Humanity is an aspect mostly lost to vampires and wraiths and largely alien to the Garou and changelings. For mortal sorcerers, maintaining human ties in a world which constantly seeks to turn them into monsters (both literally and metaphorically) can be difficult indeed Finally, there is a difference in intensity that comes from a mortal perspective. Mortals don’t have the forever of vampiric or wraithly existence. They don't have the escape of changelings or the mighty forms of the Garou. The issue of immediacy becomes much more relevant to these characters, giving them an element of frantic activity. For mortals, the clock is ticking and “do or die” becomes a very apt motto. MORTAL TROUPES Time is not the only danger mortals face. Storylines that are trivial for supernatural beings can be dangerous to someone with only his wits and a few spells at hand. The prospect of Storytelling a game with a troupe of mortal characters becomes even more exciting when one considers the relationships they often have with other inhabitants of the World of Darkness. Kindred see most mortals as servants, food or, more rarely, as potential childer. Many Garou hold mortals in contempt, though a few tribes have taken a less forgiving stance, viewing humans as a threat to Gaia. Wraiths and Spectres covet the life these mortals take for granted and may rage as they watch opportunities wasted. Little wonder, then, that most supernatural beings shun mortalsor try to eliminate them entirely. The protagonists of every other MET game have suddenly become your antagonists! This providesa wonderful change of pace. 7” Y Vw VWYWYYWwTYYWYTY’YW’YTY’YWYYYREieEYiWY VW 8Rent on And then let's consider what happens when there are no clear “good guys.” So the mortal has decided that vampires are foul creatures, and he wants revenge on the one who killed his wife and Embraced his daughter. What's going to happen when he encounters his vampire daughter, who is struggling to retain her Humanity in the face of her new state? Is she something evil to be destroyed? What if she’s in love with another vampire, and she'll face down her father before she lets him destroy her lover? Who's the “bad guy” here? The daughter, because she’s a vampire! The father, who’s hunting? Let's throw a twist on that and say the father is hunting under the aegis of the Inquisition. Does he disobey his superiors to save his daughter, ot does he follow orders and consign her to a horrific death, hoping that her soul will be saved like the Inquisition claims? Now who's the bad guy? Mortals (and roleplaying) thrive in such morally muddy situations. Humans have a remarkable capacity for both great good and great evil, as well as creativity and ingenuity, by dint of the spark of Humanity that runs inall of them. This can surprise supernaturals who thought they'd seen it all. Jaded vampire elders, regal sidhe lords, grizzled Garou warriors and ancient wraiths canall recall when mortals have given them somenewmarvel. Hitler, Mother Theresa, Da Vinci, Thomas Edison, Idi Amin, Amelia Earhart, Hammurabi — who knows what each mortal is truly capable of RULES Once all is said and done, Laws of the Hunt Players Guide is about telling a story. However, to keep things running smoothly and to provide a sense of balance, the game needs rules. Rules enable a character to perform feats that the player cannot or should not, such as shoot a gun, cast a fireball or swing from a chandelier. The rules should be taken in context, with interpretations based upon what is best for the current story and the game as a whole. The rule system is designed to fit seamlessly into the flow of play, providing a fast and simple resolution to complex situations without disrupt- ing the scene. This allows you to preserve the illusion of reality while still making things work. Remember, characters don'tknow anything about game mechanics, so players should keep such out-of-game discussions to an abso- lute minimum. Every time you break character to discuss the rules, the tapestry of the story is torn apart. WINNING AND LOSING Most games we learned as children had definite winners, usually derer- mined after the game was over. This is not the case in Mind’s Eye Theatre. Here, the game reflects life. There are no ultimate winners and losers. There are only temporary victories and setbacks as characters strive for their goals.(nmin - j Pe ene ce cra eee Oe i As in life, there are consequences for your actions. Each story is a strand in a vast web connecting each to the others, a tich and complex tapestry into which your character is woven. Your part may be large or small, but itis vital to the story as a whole. Chronicles can be as short as a few hours or as long as months. Either way, the tale never truly ends. THE ONLY RULES THAT MATTER Most rules are at the Storyteller’s discretion, but some limits are written in stone. Mind’s Eye Theatre, unlike other types of games, can bring out strong feelings and emotions. Youare interacting in person with other players instead of just describing what your character is doing, These rules are simple and easy to follow, but they are necessary for the safety of everyone involved. The objective of live-action is to broaden and enhance the game, not to increase the possibility of harm. #1-ITSONLY AGAME. This is the most important rule of all. If your character dies, if your plot falls apart, if your allies betray you — it’s only a game. Too many times, a hothead will forget this and ruin the game for everyone. Remember to leave your character at the door. Do not bring problems from real life into your stories, and don’t bring game problems into the outside world. If your significant other's character stabs your character in the back, that does not mean it's time to get your own apartment. Rather, it’s probably time to take a deep breath and regain your perspective. #2. — NO TOUCHING. NO STUNTS. This meansnone whatsoever, even ifconsentis given. Thingshave away of getting out of hand and it’s better not to chance any unpleasantness, No horseplay should happen atall. This means no swinging from objects, running or jumping. Just because your character is tough and can take a 20-foot fall does not mean you can. If you have any doubts about whether something is safe, do not try it. #3 -NO WEAPONS, Props have an amazing way of enhancing the game, but real weapons should stay at home. It doesn’t matter if that sword goes well with your character's concept or how responsible you are with your dagger. That does not prevent some moron from running around the comer and impaling himself on it. Even toy guns are forbidden. Remember when Laser-Tag was big and the cops shot some kid who thought it would be a good idea to point his weapon at them? Enough said. vvvyvyrvryvyrvryvYrvrvrevvyvvegyvwpreupivpiwy#4 — NO DRUGS OR DRINKING. Well, duh. Drugs and alcohol do not create peak performance. It’s one thing to play a character who's stoned or drunk, another thing entirely to actually be inebriated while roleplaying. At best, bringing such behavior into a game is in poor taste. At worst, it’s illegal. Don’t do it #5 — NOT EVERYONE IS PLAYING THE GAME. While “freaking the mundanes” can be amusing, remember that a game can confuse or startle people passing by. Be considerate of non- players in your vicinity, and make sure that if you are in a public area, your game actions are not going to alarm anyone watching. Attempting to explain to suspicious Bible-thumpers or the police that you weren't really performing a Satanic ritual, you were just creating a Ward against a hostile spirit is an exercise in futility. #6—THE RULES ARE FLEXIBLE. This is what we at White Wolf refer to as the Golden Rule. Put simply, what the Storyteller says goes. After playing a while, some groups find that they don’t like the way things work, so they come up with different ways to perform existing effects. The Storyteller may also decide to change some things for game balance or to better suit the style of his chronicle. This does not mean that players can take it upon themselves to decide they are not going to follow the rules. Feel free to come up with suggestions, but get your Storyteller’s approval before putting them into play. It’s likely he will go along with any reasonable ideas, provided that they are fair and internally consistent. #7 -HAVEFUN. Not “win.” Not “go out and cause chaos.” Just “have fun.” That is the overall objective of a game, after all. As stated before, there are no winners or losers, only players. Enjoy the ride and don’t worry about how it ends. LEXICON Apprentice — A sorcerer who is just beginning her studies. Commonly used to refer to those sorcerers capable of only Basic applications within a single path. Arcane — A mystical veil used by certain sorcerers to guard their identities. vvvrvyvrvyvrvyvrvyvrvyvvrvvrevveyrieyPee e ure ihn ere Astral Plane — The layer of the Periphery connecting the Higher Umbra to the physical world. Counterspell — A means of using sorcery to negate hostile spells. Deep Umbra— The part of the spirit world that lies very far away from this reality, the equivalent of deep space Familiar — A spirit who has contracted with a sorcerer for mutual service Gaia — Mother Earth. The collective consciousness of the Tellurian. Gauntlet, the — A mystical barrier separating the physical and spiritual worlds. Hedge Wizardry — The most common mode of sorcery. Also called Hedge Magic. Madwand — A Solitaire who had no teacher and learned everything on her own. Often considered a derogatory term. Mana — A generic term for the mystical energy used by sorcerers to power their spells. Each magical heritage looks at this energy in its own context and calls it by a different name. Mentor— A sorcerer’s teacheror sponsor. Though sometimes played in- game, these characters are most often handled behind the scenes. Mundane — Mortals who are incapable and unaware of magic. Used as a derogatory term. Numinae — The various powers learned by mortals. The singular form is Numina. There are two main categories of Numinae: sorcery and Psychic Phenomena. Some also consider True Faith a type of Numina, though it is usually combined with Theurgy. Otherworld — Another name for the Deep Umbra, specifically the realms which many consider alternate realities. Path — A linear progression of related magical effects. Spells are the required elements ofa path, whereas rituals are learned separately. Each mode of sorcery has its own collection of paths which practitioners of that style may employ. Penumbra — The layer of the Periphery connecting the Middle Umbra to the physical world. Periphery — The part of the spirit world, lying just on the other side of the Gauntlet, that mirrors the physical world. Praxes —The technical term for the paths of Hedge Wizardry. Singular: Praxis. Priest — A general term for any sorcerer who has True Faith and studies Theurgy. Different religions have theit own specific titles.eco) Rituals — Ceremonial workings which take longer to perform than spells, though they are also capable of greater effects. Also known as Rites. Shadowlands — The layer of the Periphery which forms a bridge to the Lower Umbra. Solitaire — A sorcerer who belongs to no magical society or traditional heritage. Sorcerer — A general term for any mortal who uses magic. This does not include true mages or psychics. Sorcery — The array of spells and rituals known to mortals. This includes both Hedge Wizardry and Theurgy. Spell — A common magical effect, usually cast relatively quickly. Tellurian — All reality, including the physical and spiritual worlds. Some say that our Tellurian is but one universe among many alternate realities. Theurgy — An alternate form of sorcery practiced by those mortals possessing True Faith. True Faith — The measure ofa character's belief in a higher power and the rare ability to call upon that power in times of need. Umbra — The spirit world; everything that is not part of the physical world. The Umbra is broken up into the Higher, Middle and Lower realms In common usage, this term refers primarily to the Middle Umbra. Umbrood — A technical term for any being native to the Umbra. Underworld, the — A common term for the realms of the Lower Umbra. Via — Latin for road, this is the name given to the paths of Theurgy. Plural: Viae. a SESS aS tas STL SS BH Repeat after me: “{ am not a wizard. [am not a vampire, I do not drink blood, worship Satan, orkill animals or people. am playing a fantasy game None of this is real.” Is that clear, clearas in “crystal”? Asin “I know that!” Asin “Do Not Pass Go, Do Not Collect $200, Do not go on the talk show circuit and brag about drinking blood”? Cool. Let’s get busy playing, If it’s not clear, throw this book and any others like it in your possession into the nearest trash can and go seek mental help. Please don't make your illness other people’s problem. Thank youaS | a ord reed Be MIND'S EYE THEATRE These terms are common to all Mind’s Eye Theatre systems. They describe rules and mechanics rather than in-game terms. Abilities — The extent of a character's expertise in various fields, measured in Traits. These cover talents and skills as well as general and specific knowledge. Archetypes — Basic personality types used to specify Nature and Demeanor. Attributes — These descriptive Traits measure a character's innate Physical, Social and Mental capabilities. Backgrounds — Advantages that a character has acquired during her history, also measured in Traits. Bidding — A process of risking Traits in an attempt to win a challenge. Challenge — The system by which conflicts between characters are resolved through the bidding of Traits and the use of Rock-Paper-Scissors. Chronicle — A series of stories all centered upon one major plot or theme. Corpus Levels — The wraithly equivalent of Health Levels. Experience — Awarded to characters as they progress through the story, these Traitsare used to purchase advantages or overcome existing limitations. Health Levels— A measure of how injured your character isatany given time. Humanity — Similar to Attributes, these descriptive Traits portray your character's virtues and ties to her community. Narrator — Someone who has the authority to adjudicate rules and resolve disputes. This person assists the Storyteller in running the chronicle. Negative Traits — Similar to Flaws, these represent defects in the character's Physical, Social or Mental make-up. Scene — A short period of time in which a specific activity takes place. This may be a single discussion or an entire battle. Scenes typically last about 10-15 minutes. Simple Test — A feat in which the character's efforts are not being actively resisted or countered. Also used for purely random events, such as environmental or situational effects. No Traits are bid or lost in Simple Tests. Static Test — A more applied effort in which the skills and attributes of a character come directly into play in the result. Though not directly resisted by other individuals, the character must still risk a Trait when attempting these actions, Story — One or more game sessions that take place within a short amount of time, such as over a single weekend. vvvvrvvvvvvvvvvveiwvyiyveee ie oa Storyteller — The person running the game. The Storyteller has final authority over all game activities. Test — The system for resolving conflict. Mind’s Eye Theatre uses Rock-Paper-Scissors to provide for a random outcome without using external props, such as dice or cards. Turn — Theamount of time it normally takes to performa single action. One combat turn is about 10 seconds. vvvvvvyvwywVYYY WY VY VY WOM poe 15TCs at Chapter One: Magic Society Snowflakes are one of nature's most fragile things; But just look what they can do when they stick together —M. Kelly Magic is real. Not the stage illusions provided for an evening's entertain- ment, but the ability to change reality. [thas survived from the first moments of creation through the ages of Myth and Reason. And contrary to what most mundanes believe, it is still around today So too are the rare individuals who study the mystic arts. These practitioners move through the world like the wind, some moments a quiet breeze, other times a storm. They go by many names: witch, wizard, shaman, high priestess, cunning man, wise woman. Here, these names are bound up into the simpler “sorcerer.” MAGICAL SOCIETIES Humans form communities. Itisa common behavior, especially when we feel different from the people around us. Sorcerers are no exception. There are countless mystical organizations throughout the world. Some are very old, passing down their traditional ways from mentor to apprentice, generation to generation. Others are more recent in origin, perhaps with a newly rediscovered heritage or a freshly created one vvvvvwvywyvyYWYY VY YOY WY yo WBieta b ercors etn The common thread that binds these people into groups is shared philosophy and beliefs. It matters little whether a sorcerer was raised with a particular group's mindset or adopted it after she came into her power. Either way, the heritage she claims has a direct impact on the way she practices magic. HEDGE WIZARDRY Knowledge is power. When a person truly understands the world around him, he ceases to be a mere observer. By learning the world’s secrets, he becomes an active participant in his own life. This is the goal of hedge wizardry. The most common form of sorcery, these arts are practiced by countless traditions throughout the world. One person discovers a Truth. She shares it with someone else, and the two begin to create the framework foran ideology. When enough people have come to accept this ideology, it becomes doctrine. Over time, the beliefs weave themselves into the tapestry of the world, providing a heritage of known techniques to those students who seek enlightenment. The practice of magic is no different. If one person does something over and over, it's called habit or personal preference. Ifa hundred people do the same thing, it becomes tradition or dogma. The practice is then passed from teacher to student, each setting the path more firmly in place. Though there are countless such roads carved into the landscape of reality, any given individual usually follows only one of them. TOOLS OF THE TRADE Each sorcerer must choose a magical style. This describes the paradigm and techniquesused in her practice of magic. Most often, thisstyle isthe result of the sorcerer’s own heritage, though some individuals have adapted existing models to suit their own unique flair. Many practitioners rely upon symbolic expression, such as chanting, runes or words of power. Others may use dance, musical instruments, blood rites or herbs as a means of expressing their intent. The list of tools is almost endless, though some of the more common systems are listed later in this chapter along with the groups that practice them. While the debate over which form of magical practice is the most potent is long and heated, the proof, in the end, is in the pudding. All of the styles listed here have been in use throughout history, all to effect. [tis up to you to select a style and set of tools which best fit your character concept. vvvvrvrvvyvrvvrvvyvrvvyroyvyvreyvyiymmm THE ANCIENT ORDER OF THE ALON RITES The Aeon Society is a group of Western Hermetics, formed in 1872 by Master Johannes Agrippa. In his work, The Aeon Rites, the Master claimed to have been shown the true origins of magic by a group called the Secret Watchers. This collection of ascended beings then proceeded to guide Agrippa in the creation of this order. Gathering his closest friends and colleagues, Master Agrippa formed what he called the Aeon Tabernacle. Though the members of this ruling body have changed over the years, the Tabernaclestill controlsall aspects of the AOAR from its main chantry house in Amsterdam. Though similar in style and heritage to groups like the Order of the Golden Dawn, this society holdsa different temperament. Acts of charity and goodwill are the mainstay of the order, with advancement in the hierarchy being determined not only by magical competence but also benevolence. Some outsiders believe that this kindness and good humor is too pervasive, and wonder if there is something going on behind the scenes. The Tabernacle’s recruitment policy doesn’t help the situation. The AOAR is very active in secking out new members, even soliciting practitioners from other mystical societies. Consequently, the AOAR has a reputation asa “poacher” within the global occult community. This is offset somewhat by the members’ good deeds and general demeanor. Magicians from this order are usually calm and collected when others lose their heads, equally well-versed in etiquette and magical theory and generous to their fellow magicians and the mundanes around them. They are also most likely to encourage magicians put off by the increasingly dark tone of other occult groups and personality cults to throw away the black robes and pursue the sacred mysteries. When a high-ranking devotee joined the Sons of Tertullian in 1948, a war ignited between the AOAR and the Sons, nearly decimating the AOAR. The order dropped out of sight in 1960 and has kept a fairly low profile since then, working quietly in small covens and shelters. The recent expansion of spiritual awareness caused a resurgence of interest in the order. At last count, the Aeon Society had numerous members and chantries in several major European and North American cities. Preferred Paths: Daimonis, Enchantment, Spirit Calling, Summoning Magical Style: The Aeon Rites resembles a blend of the Kabbalah with ancient Greco-Egyptian texts, including the Corpus Hermeticum, filtered through Agrippa’s own unique perspective. The book puts great emphasis on symbolism, leading to the extensive use of classical tools: cups, wands, swords and pentacles. Other geometric forms are also common, including the sacred Pythagorean solids: triangles, squares, circles and hexagrams. In addition to Latin, Greek and Egyptian, many members ofthe AOAR alsoknow Enochian, vvvvvvyvvvvryvvvywvwyvywyv¥wesyY 19settee crc the legendary angelic tongue. Astrology plays an important magical role, as does sacred mathematics. “High ritual” doesn’t even begin to describe the elaborate procedures of the AOAR. Quote: There is abetter way. Discard the tarnished traditions you were taught by others and step into the light of uth. Come, let us show you how THE FENIAN Less ofa magical society than an extended family, these Irish shapeshifters boast of an unbroken lineage to the Tuatha de Daanan. Though just about everyone would like to claim such a heritage, the Fenian can back up their claims with magical powers, unearthly talents and inhuman family. Many Fenian are kinain, carrying the blood of one of the Celtic kith: boggans, clurichauns, ghille dhu, selkies or sidhe. Others are Kinfolk, usually of the Fianna tribe. However, this magical heritage also comes with a price. All members of this clan suffer a strong geas, an inherited oath binding them to the honor of their family. In addition to allegiance to their society and kin, the Fenian are dedicated to the protection of nature and humanity against the Wyrm. With such allegiance and heritage come additional threats that most sorcerers do not usually encounter, such as fomori or Dauntain, and with each death, the old folk grow rarer still. Though a common element in many Celtic legends, these half-fae magicians today number less than a few dozen. New members are not recruited; rather, the Fenian treat discovery of a long-lost descendant like a family reunion. This sense of reverence and joy is one of the few things preserving the clan’s spirit through the shadow times. By honoring their history and singing the old songs, the Fenian will preserve their legacy for another generation. That is all that matters. Preferred Paths: Shapeshifting (required), Fascination, Weathercraft; ac- cess to Fae Arts/Realms or Fianna Tribal Gifts (if the Fenian is properly related through Merits such as Kinain or Kinfolk) Magical Style: Because the Fenian are innately magical beings, they treat all of their powers as part of a blood inheritance. Fenian magicians must decide whether to concentrate on sorcery or the powers of their supernatural relations. You may purchase one of these domains at normal cost, and the other countsas a Fringe Power (see Chapter Three). In either case, youalways pay normal cost for the path of Shapeshifting. However, to reflect the Fenian reliance upon this legacy, you may not raise any other Praxis, Gift or Art to a higher level than your current rating in Shapeshifting, Each Fenian bears a geas (sce the Flaw on p. 100, no additional Traits conferred), which she must uphold, else she risk losing her gifts. If a Fenian breaks her geas, she is down four Traits in any challenge involving her magic. Her magic will not return to her until she has sought out a Storyteller and vvrevrvrvrvrovryroyvryw7r~+¥wpse+f’y?evypw7rww«y¥wese wvwyieyaa detailed how her character is atoning for the trespass. While the Fenian is actively atoning for the mistake, she is two Traits down in her attempts to work magic. When the powers that be (and the Storyteller) deem the transgression paid for, the Fenian may use her full Trait pool in challenges. Quote: What's the matter, lass? Why the sad face? Life isa time of joy. Drink, dance and be merry, for tomorrow — well, we'll deal with that later. MOGEN HA CHAV Known as the Shield of the 36, this fraternity of Jewish scholars is based in Brooklyn, New York. They believe in the existence of 36 upright humans who protect the world through their essential goodness. The Shield is dedicated to the task of keeping track of and protecting these individuals, for if they were to die, the world would fall into darkness. Begun asa student cabal at the Kabbalistic academy in Genoa, this group spends its days trying to learn the identities and locations of the 36 and protecting them once they're found. Since the world hasn’t fallen to darkness yet, apparently the Shield is doing well. All members of the Mogen Ha Chav are Jewish males, most above 40 years old. Jewish tradition dictates that only older, preferably married, men are allowed to study the Kabbalah. Such wisdom requires experience; only HISTORY OF THE KABBALAH Originally, there was not one Kabbalah but many. Each covered a different topic: such as philosophy, medicine, the- ology, science or magic. The latter text is what most people today think of when they hear the term. Though still deeply rooted in Hebrew mysticism, the lore and systems contained within this work have found their way into several magical traditions over the last few centuries. There are various ways to spell the word, the most common being Qabalah and Kabbalah. The former usually refers to non- Jewish, Hermetic or Western versions of the lore, and the latter is universally accepted as the traditional form. Though the first written texts of this name date back to the first century B.C., the origins of this wisdom are much older. Some claim that they derive from the ancient Key of Solomon itself. This legendary treatise held the answers to all worldly questions — names of power, ceremonies of enchant- ment and consecration, circles of protection, healing, even. the calling and binding of spirits “vy vvyvyvwywyywwvyYWYYWYY YY YY OW poy 21ree tec ence those scholars who are properly “grounded” in life are considered ready to study Kabbalah without danger. The oldest scholar of the group, the Baal Shem Tov (or Master of the Good Name), is almost 100. The rest range in age from 97 to as young as 45. All wear the traditional itzis, beard and yarmulke demanded by Orthodox Jewish tradition. Currently, the Shield maintains its main house in Brooklyn, NY. While their most active mission is the protection of the 36, these men also practice gematria and cast traditional horoscopes, which can yield some surprising information. Their resources are considerable —a network of informants, an astonishing occult library and wealth to provide for the Shield’s daily needs. Preferred Paths: Divination, Healing, Summoning, Warding, Weathercraft Magical Style: The Mogen Ha Chav follows the Kabbalah, studying the Sephiroth of the Tree of Life. These sorcerers perform most spells and rituals in their original Hebrew. Divination uses traditional astrology or horoscopes, and other secrets are revealed through the study of gematria and numerology. The maintenance of a devout Jewish life —keeping Torah — is essential to the Shield. Quotes Earth is too great a treasure to leave without protection. Though our task is a hard one, we must endure. There is no other way. THAL'HUN Not everyone believes in magic. Interestingly enough, this is true even among the ones who practice it. The Thal’hun tentatively fall into the category of technowizards, those people who use their own unique form of science to duplicate the arts of sorcery. In the case of this society, the story goes much deeper. The Thal’hun claim to be the heirs to an ancient extra-terrestrial science. Millions of years ago, the Hui:xa fled their dying planet, Bars'hm. Three hundred members of their race, known as the Jeva, set out to find a new home for their people. The rest passed into a place outside time and space, sealed away in a city-sized ship until another planet could be found. One of the Jeva, a being by the name of Khuvon, made his way to Earth. He walked among the earliest civilizations, many thousands of years ago, teaching them lore of his people. Unfortunately, there was no translation for many of the concepts used in his advanced science. Lacking any other way of framing his words, people understood his techniques to be magic. This misperception continues even today. Khuvon last walked among his followers in the early 1960s. He gathered about him seven disciples to whom he revealed the secrets of resonance and vibration, These visionaries formed the Star Council of Zoraster in order to teach others this forgotten lore, preparing for the time when the Hui:xa will return from their self-imposed exile. Of the original seven, three have died. vvvvvvvvyvevvvvwypvwvpqupisytiwvThe four original councilors and the three successors lead the Thal’hun from. their headquarters in San Francisco, California. The Thal’hun do not consider themselves an occult society. They donot welcome seekers of mystic lore or students of other magical systems. Instead, the Thal’hun find new members from the ranks of UFOlogists and visionary inventors. New initiates (a:xa) are taught the ancient language of Luz’at. This sacred tongue holds the secrets of thal — the power of harmonics, Preferred Paths: Coiling, Conjuration, Hellfire, Mentalis, Summoning, Weathercraft Magical Style: Thalhun practice the remnants of Hui:xa technology, a strange blend of crystallography, meditation and vocal toning. While they use crystal rods, spheres and cones to focus these resonances, the key to thal lies in the mastery of Luz’at. Members of the fellowship spend years learning this difficult language as well as the mental discipline necessary to manifest its concepts in reality. Quote: There is no magic, only the secrets of sound and thought. We have moved beyond superstition, instead rediscovering a science older than the human race. PRIESTS Unlike theirscholarly counterparts, those sorcerers who follow the paths of Theurgy rely more upon divine guidance than accumulated lore. Though the effects are similar to the effects of sorcery, the mindset and manifestations of the two powers are often very different. Priests do not see themselves as causing these effects but rather as the recipients of a divine gift. At most, the priest is a conduit through which the light of her patron flows. Regardless of what religion they follow, priests all have one thing in common: a deep-seated belief in some supernatural agency. This may be the kami of Shinto, the one God of Christianity and Judaism, even the formless void known to the followers of Buddhism. This supreme force has many faces and even more names, but above all else it has power. In addition to manifesting this divine support as True Faith, priests are able to learn the powers of Theurgy. However, because of their dedication to a religious framework, Theurgists may learn only the paths of sorcery that conform to their chosen ecclesiastical model. Both the spells and the rituals of Theurgy take the same amount of time as other forms of sorcery. This may be spent in prayer and meditation or in performing the benedictions and mudras of one's faith. Usually, the only material focus for these feats is a holy symbol or token appropriate to the chosen religion (e.g., a cross for Christianity, a pentacle fora Wiccan, a yin- yang symbol for a Buddhist). Some sects do rely upon vestments of office and "vw wvvvyvwyvYvyVYY’YY’YV’YY’YW?¥W¥AYV¥YWWY y= B(eae other paraphernalia to help the priest form the proper mindset for the working. Many would argue that these liturgies and ceremonies are just another magical style, one of a different heritage but no less steeped in symbolism than the sorcerous praxes. Though Christian terminology is used often throughout this section, it is only because of its greater familiarity in the West. Many other religions trace their roots back as far or even farther, and their Faith isno less intense. BALAMOB Descendants of the ancient Mayan shamans, the Balamob are found throughout Mesoamerica. Known to the native people as Children of the Jaguar, these mystics have preserved the old ways for thousands of years. Both h’men (sorcerers) and itzamna (priests) are common within the sect, each group honoring the spirits in its own way. Each “Soul-carrier” is dedicated to a particular wayob (spirit-guide). The shaman’s power over the spirit world comes from his study and service to this totem. There is no formal organization among the Balamob. The sect keeps to its traditional homelands: the Yucatan peninsula, Belize, Guatemala, E] Salvador and Honduras. Even Western recruits eventually settle in Central America. Most do not associate with outsiders, though visitors who honor the spirits are treated cordially. Kinfolk who study the old ways are also welcome, especially those related to the Balam, or werejaguars (see Bastet for more information). Initiates to the Balamob usually come from the local tribes and native peoples. However, in recent times, a few anthropologists and other foreign CP Oe SS a AWORD ON TOTEMS s The original meaning of totems and spirit-guides has been lost in pop culture. The calling of a shaman by her totem is the same as the calling between God and a Christian priest. It is not simply a matter of behaving in a certain way ot adhering to arbitrary rules. The life of a shaman is filled with the essence of her spirit guide. Every thought, every action, every belief is filtered through this perspective. A shaman of the jaguar does not simply talk about defending her homeland — that service is her entire reason for existence. She can no more ignore the bans and strictures of her totem than you can ignore breathing or sleeping. Don’t make the mistake of assuming that just because a sorcerer can talk to the spirits, she is a shaman. The path is a way of life all its own. vvvvvvvvvvvvvvewwvweeiv